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    Santa Lives in Rovaniemi, Finland. Some of His Neighbors Are Not Thrilled.

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    After dinner at the Bull Bar and Grill in the small Finnish city of Rovaniemi, Mariel Tähtivaara, a law student, popped into a supermarket to grab some dessert.As she perused the chocolate mousses, a short woman with dark hair walked up to her, shaking a milk carton.“Excuse me,” she said in English with a Spanish or maybe Italian accent. “But can you tell me if this has lactose?”Ms. Tähtivaara scanned the label — in Finnish — and told her no.Then, as Ms. Tähtivaara was moving through the cookie and cracker aisle, a man with his wife and small child, puffed up in heavy jackets for a winter holiday, held up a cracker package.“Do these have cheese in them?” he asked.She saw more tourists in snowmobile suits lingering by the cashier. Before they could make eye contact, she got out of there.“I was thinking: Here we go again,” she said.These were small impositions, but enough was enough. If you’re blond and therefore identifiable as a likely native of Rovaniemi, you can barely move around a supermarket during tourist season — and it’s all Santa’s fault.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      White House Wants to Recruit Corporate Sponsors for Easter Egg Roll

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      The White House wants to recruit corporate sponsors to contribute to its Easter Egg Roll next month, raising ethical and legal concerns that President Trump is allowing companies to profit from the 147-year-old tradition by turning it into a showcase for their brands.The financial backers of the April 21 event would be able to choose from three options that cost between $75,000 and $200,000, according to a nine-page guide for potential sponsors that was reviewed by The New York Times.The most expensive package includes a corporate booth, logo placements, branded snacks or beverages, exclusive tickets to brunch with the first lady, Melania Trump, a chance to engage with the White House Press Corps, a private White House tour and 150 tickets to the event.“Be a part of history,” reads the guide, which was written by Harbinger, an event production company founded by Republican aides in 2013. It invites sponsors to “provide financial support, activities and giveaways to enhance the event while gaining valuable brand visibility and national recognition.”As in the past, any money raised through the event will go to the White House Historical Association, a private nonprofit educational organization founded by Jacqueline Kennedy in 1961. The event is largely held without taxpayer dollars, with the American Egg Board, a marketing group for the egg industry, sponsoring thousands of eggs for the event — but without the kind of visibility laid out by Harbinger’s guide.Federal regulations prohibit government employees from using their public office for private gain. Richard W. Painter, who served as chief ethics lawyer in the White House Counsel’s Office under President George W. Bush, said that the White House was clearly breaking that code by allowing private enterprises to use an official event to showcase their brands and letting the proceeds flow into a private nonprofit.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Abrdn’s Rebrand Reversal and a History of Corporate Missteps

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      A British investment firm restored most of the vowels to its name after a widely ridiculed revamp that showed the pitfalls of trying to look cool in the digital age.Hw cn brnds sty cl? Nt by drpping vwls, one of Britain’s biggest investment firms concluded this week, when it announced it was adding back the “e’s” to its name four years after dropping them.The 200-year-old company is now called aberdeen group, effectively reversing a decision to rebrand as abrdn in 2021 in a bid to pitch itself as a “modern, agile, digitally-enabled brand.”The decision four years ago was widely ridiculed. James Windsor, who took over as chief executive last year, said on Tuesday that it was time to “remove distractions” — less than two months after saying he had no plans to change the name.Corporate rebrands can be critical to signifying a strategy shift but they also come with risks when companies veer too far from their purpose. Aberdeen’s vowel-dropping rebrand was just the latest example of a company reversing course after a new name failed to lift its performance or its reputation with customers.The Perils of Chasing TrendsRemoving vowels from brand names or using a name with a deliberately misspelled word was not uncommon in the 2000s, especially among trendy technology companies. Businesses including Grindr, Flickr, Tumblr and even twttr, as Twitter (now X) was initially called, embraced the aesthetic. But today, that style can look out of date and embarrassing, said Laura Bailey, a senior lecturer in linguistics at the University of Kent.Often, when companies try to appear trendy, “by the time they get to it, it’s been around for too long,” Dr. Bailey said. “It’s like your parents doing it — it doesn’t seem right.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Ron Travisano, Adman Behind Singing Cats and Joe Isuzu, Dies at 86

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      The art director for Meow Mix and other memorable commercials, he began his career at the dawn of a creative revolution on Madison Avenue.In the early 1970s, the madcap advertising executives Ron Travisano and Jerry Della Femina were struggling to find a gimmick to sell an undistinguished brand of pet food.Watching interminable and unremarkable footage of cats eating, Mr. Travisano and an editor, Joe Lione, spotted one that kept opening and closing its mouth in a manner that appeared to simulate singing.In fact, the cat was choking on its food. But in an eye-of-the-beholder eureka moment, the admen were inspired to create the classic singing-cat commercial that put Meow Mix on the map.The original commercial for Meow Mix won a Clio Award.Della Femina AdvertisingThe endearing “Meow, meow, meow, meow” commercial for Ralston Purina — accompanied by the tagline “The cat food that cats ask for by name,” written by Mr. Travisano’s collaborators Neil Drossman and Bob Kuperman, who also came up with the name Meow Mix — won a Clio and other industry awards. Nearly two decades after the ad debuted, The Times described it as having “one of the best known, most readily sung commercial jingles.” (The insistent meowing, mouthed by the singer Linda November, was presumably less endearing when played repeatedly to torture terrorism suspects at the U.S. prison compound at Guantánamo Bay.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Ye Advertised Website Selling T-Shirts With Swastikas in Super Bowl Commercial

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      The commercial aired in some local markets several days after the rapper and designer called himself a Nazi in a series of social media posts.Ye, the rapper and designer formerly known as Kanye West, aired a commercial in some markets during the Super Bowl that promoted a website selling a single product: T-shirts with swastikas.In the 30-second commercial, Ye appears to be filming a close-up of his face while lying in a dentist’s chair. “I spent, like, all the money for the commercial on these new teeth,” he said, smiling into the camera. “So, once again, I had to shoot it on the iPhone.”Ye then directs people to his online store, Yeezy.com, which was selling only one item as of early Tuesday: a $20 white T-shirt with a black swastika. According to Variety, when the commercial aired Sunday night, the website was selling a range of non-branded clothing, but shortly after it was selling only the shirt with the swastika.On Tuesday morning, the website for his store appeared to have gone offline, replaced by a message that said, “This store is unavailable.” A spokesperson for Shopify, the online platform that processes the website’s orders, said that Ye’s online store “did not engage in authentic commerce practices and violated our terms so we removed them from Shopify.”The ad aired days after Ye unleashed a rant on social media in which he called himself a Nazi and professed his love for Adolf Hitler. He later deactivated his X account. On Monday, the Anti-Defamation League condemned the commercial, writing on X that “there’s no excuse for this kind of behavior.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Ubiquity of ‘Wicked’ Shows How Commercial Needs are Consuming Culture

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      Even before “Wicked” opened, the movie’s signature green and pink colors were turning up everywhere, from drinks topped with matcha foam at Starbucks to aisles lined with merch at Target. This cultural bludgeoning was, of course, orchestrated. Today, not even large marketing budgets can achieve such ubiquity without help.Attention has become fractured. Audiences, siloed in their social-media feeds and choose-your-own-adventure streaming sites, are ever harder to reach. Only by partnering up, like “Barbie” did by collaborating with 165 brands last year, can a promotional campaign become truly inescapable. “Wicked” went even bigger, teaming up with over 400 brands to ensure a saturation that would be, in the words of Universal Pictures’ chief marketing officer Michael Moses, “just short of obnoxious.”It’s just the latest example of how the culture industry has come to rely on collaborations. Brands pair up with other brands in endless permutations. Fashion companies and visual artists routinely partner, as in the case of Louis Vuitton and Takashi Murakami, whose landmark collaboration will soon relaunch. Around a third of Billboard’s Hot 100 songs involve a guest feature or collab (compared to under 10 percent a generation ago). At a time when culture feels stagnant, collaborations help artists and brands generate an air of originality without having to innovate.This frisson of newness has often been enough to capture media attention and entice consumers. But as commercial alliances have proliferated, their effect has diminished. Fatigue is setting in. “Wicked” participated in more than twice as many collaborations as “Barbie,” yet brought in only half its opening-weekend box-office take worldwide.Could it be that we’ve reached “peak collab?”Collaborations have become formulaic, fusing random elements from all corners of culture, until everything seems fungible: Baccarat and Hello Kitty, Louvre and “Joker: Folie à Deux,” N.H.L. and Lululemon, M&M’s and KateSpade. The ease with which such diverse offerings are lumped together only exacerbates the feeling of monotony and exhaustion. All culture is deployed in the same way, as if what distinguishes it — its history, form, industry or genre — couldn’t matter less. Collaborations appear increasingly desperate, more about profit than creative synergy or shared values. Louis Vuitton’s upcoming Murakami re-edition promises to be “a surefire sales smash,” as Highsnobiety put it, even if it’s also “a cash-conscious maneuver reflective of tumbling luxury revenues.”But the formula plays well to the algorithms that power social media and dictate what we see online. Designed to anticipate what we want, these algorithms favor content with a proven history — the safe and familiar over the experimental and untested. New content composed of pre-existing elements, like mash-ups of established artists and brands, hits the sweet spot. This preference has only amplified the incentives leading culture away from the lone visionary and toward joint authorship for decades. In hip-hop, guest features started as a means of creative exchange before proving their value as a commercial draw.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Canada Accuses Google of Creating Advertising Tech Monopoly

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      The case largely echoes an antitrust action in the United States and seeks to force Google to sell off sections of its online ad business.Canada’s competition authority on Thursday accused Google of abusing its tools for buying and selling online advertising to create a monopoly, and filed a complaint seeking to force the company to sell two of its main advertising technology services.The case strikes at the heart of Google’s business and echoes an ongoing U.S. antitrust lawsuit against the Silicon Valley giant.Both cases come amid four other lawsuits filed in the United States against Google since 2020 and other efforts by officials around the world to reign in the power that large technological companies like Google, Amazon and Apple hold over information and commerce online.Canada is also attempting to use new laws to limit harms caused by social media and to require tech companies to compensate traditional news organizations.In a statement, Canada’s Bureau of Competition Policy, a law enforcement agency, charged that Google has used its position as the largest provider of software for buying and selling ads, its marketplace for ad auctions and its services for showcasing the ads to illegally dominate the sector.The company’s conduct, it said, ensured that the Alphabet-owned Google “would maintain and entrench its market power,” adding that it “locks market participants into using its own ad tech tools, prevents rivals from being able to compete on the merits of their offering.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘No Smoking’ Sign on Planes Won’t Need Off Switch After FAA Rule Change

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      The Federal Aviation Administration did away with a rule that had required an off switch for the sign even though smoking on U.S. flights ended years ago.The days of airplane cabins hazy with cigarette smoke are long gone, but a reminder of that era is still visible inside commercial jets.Smoking has been banned on commercial flights in the United States for decades, but the Federal Aviation Administration is only just updating an outdated rule to reflect that reality. Starting on Tuesday, the illuminated overhead “No Smoking” sign no longer requires an off switch.That obsolete requirement had become “time-consuming and burdensome” for airlines and airplane manufacturers to comply with, the F.A.A. said in a rule enacting the change. In February, for example, United Airlines was briefly unable to use a handful of new Airbus planes because the “No Smoking” signs on board couldn’t be shut off, causing the airline to delay a few flights. The issue was resolved after the F.A.A. granted United an exemption.Dozens of such exemptions have allowed that requirement to live on while the agency focused on more pressing matters. But the long life of the mandate also reflects how entangled smoking once was with commercial flights, which began in the 1910s.“The rise of aviation literally parallels the rise of the cigarette,” said Alan Blum, the director of the University of Alabama’s Center for the Study of Tobacco and Society.Pipes, cigars and chewing tobacco were once more popular than cigarettes, but that began to change in the early 20th century, according to Dr. Blum. During World War I, cigarettes were added to rations for American soldiers fighting abroad.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How Google Defended Itself in the Ad Tech Antitrust Trial

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      The tech giant, which wrapped up its arguments in the federal monopoly trial, simply says it has the best product.Over the past week, Google has called more than a dozen witnesses to defend itself against claims by the Justice Department and a group of state attorneys general that it has a monopoly in advertising software that places ads on web pages, part of a second major federal antitrust trial against the tech giant.Google’s lawyers wrapped up their arguments in the case on Friday, and the government will now offer a rebuttal. Judge Leonie Brinkema of the U.S. District Court for the Eastern District of Virginia, who is presiding over the nonjury trial, is expected to deliver a ruling by the end of the year, after both sides summarize their cases in writing and deliver closing arguments.The government last week concluded its main arguments in the case, U.S. et al. v. Google, which was filed last year and accuses Google of building a monopoly over the technology that places ads on websites around the internet.The company’s defense has centered on how its actions were justified and how it helped publishers, advertisers and competition. Here are Google’s main arguments.How Google claims its actions were justifiedThe Justice Department and a group of states have accused the tech company of abusing control of its ad technology and violating antitrust law, in part through its 2008 acquisition of the advertising software company DoubleClick. Google has pushed up ad prices and harmed publishers by taking a big cut of each sale, the government argued.But Google’s lawyers countered that the ad tech industry was intensely competitive. They also accused the Justice Department of ignoring rivals like Facebook, Microsoft and Amazon to make its case sound more compelling.Visa, Google, JetBlue: A Guide to a New Era of Antitrust ActionBelow are 15 major cases brought by the Justice Department and Federal Trade Commission since late 2020, as President Biden’s top antitrust enforcers have promised to sue monopolies and block big mergers.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More